Klarinet Archive - Posting 000475.txt from 2005/01
From: Tony Pay <tony.p@-----.org>
Subj: [kl] K388
Date: Fri, 28 Jan 2005 06:56:26 -0500
On 28 Jan, "colin.touchin@-----.com> wrote,
in part:
> ....some questions for Dan about Mozart Serenade in C minor K388:
>
> 1) in the first clarinet part of the first movement, bar 14, there's a
> trill on middle A - I've heard it played as A to B natural and elsewhere as
> A to Bb. The authoritative score and parts you have produced lovingly for
> Baerenreiter (pity they didn't get it perfectly right [I,151, Bn 1 must be
> C not Eb] - not your fault!) gives bracketed natural alteration, as the
> key-signature would dictate Bb; yet harmonically both have something going
> for them - what's the history on this one, and is either acceptable?
>
> 2) III, 40, Clt 1, C or D? - another supposedly authentic edition
> (Camden Music) disagrees with Baerenreiter: I have a slight
> preference for Camden's D, but the logic of the paired clarinets
> reaching their notes from the previous falling pattern might override
> the harmonic selection - yet, the root Eb chord produced with the 1st
> clarinet playing C is weaker than the 1st inversion C minor, which
> seems better to prepare for the diminished 7th on the next beat. It is
> a crucial change as the 1st clarinet alone plays this degree of the
> scale, there being lots of Eb and G from the other 7 instruments.
>
> 3) IV, 147, Bn 1 4th 16th is different in the two editions - I prefer the
> D in Camden, but the G in Baerenreiter is equally feasible. Might
> this be left player discretion?! How dangerous could that be ... ? :-)
Dan will answer for himself; I just wanted to add an even more startling
divergence that I recently heard on the radio: in the English Concert's
recording (Hyperion CDH55092) I, 32, the second clarinet goes from Ab to G
natural after the first half note, and I think back up again halfway through
the next bar (I didn't quite catch it, but that would seem necessary). I
don't have the disc, so I can't say anything about the edition they use --
Colin Lawson is playing first clarinet, so I suppose I could ask him -- but
it's really cheap, and in fact....I just ordered it:-)
My own preferences in your list, with no particular hard evidence, are:
(1) B natural -- though that's bloody hard on a period instrument;
(2) C as in Baerenreiter -- I find your voice leading argument overrides the
other argument;
(3) G as in Baerenreiter -- it fits with the 'formality' of the rest of the
passagework for the bassoon.
....FWIW.
Tony
--
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